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A collection of obituaries from Harrison County, Indiana of the descendants of William McKim and Margaret Roberts.
"Stanford White (1853-1906), arguably the most celebrated American architect of his day, was the visionary genius of the illustrious architecture firm McKim, Mead White. A defining figure of the Gilded Age, White lived an extravagant life, which ended prematurely in a sensational death. His celebrity as a result was such that perceptions of the man have to some degree distracted attention from an extraordinary body of work. Now, more than a century since his passing, the enduring quality of White's architectural legacy becomes ever more apparent as the circumstances of his life and death fade to the background. In acknowledgment of this legacy, Stanford White Architect comprehensively explores White's sumptuously rich oeuvre - from the residences he designed for himself and his wife, Bessie; to the extraordinary and opulent houses he designed for others; to those works beyond the residential. Stanford White Architect will serve for generations to come as a vivid testament to a resplendent life in architecture."--From book jacket.
A rich, fascinating saga of the most influential, far-reaching architectural firm of their time and of the dazzling triumvirate—Charles McKim, William Mead, and Stanford White—who came together, bound by the notion that architecture could help shape a nation in transition. They helped to refine America’s idea of beauty, elevated its architectural practice, and set the standard on the world’s stage. Their world and times were those of Edith Wharton and Henry James, though both writers and their society shunned the architects as being much too much about new money. They brought together the titans of their age with a vibrant and new American artistic community and helped to forge the arts of America’s Gilded Age, informed by the heritage of European culture. McKim, Mead & White built houses for America’s greatest financiers and magnates: the Astors, Joseph Pulitzer, the Vanderbilts, Henry Villard, and J. P. Morgan, among others . . . They designed and built churches—Trinity Church in Boston, Judson Memorial Baptist Church in New York, and the Lovely Lane Methodist Church in Baltimore . . . They built libraries—the Boston Public Library—and the social clubs for gentlemen, among them, the Freundschaft, the Algonquin of Boston, the Players club of New York, the Century Association, the University and Metropolitan clubs. . . . They built railroad terminals—the original Pennsylvania Station in New York City—and the first Roman arch in America for Washington Square (it put the world on notice that New York was now a major city on a par with Rome, Paris, and Berlin). They designed and built Columbia University, with Low Memorial Library at the centerpiece of its four-block campus, and New York University, and they built, as well, the old Madison Square Garden whose landmark tower marked its presence on the city’s skyline . . . Mosette Broderick’s Triumvirate is a book about America in its industrial transition; about money and power, about the education of an unsophisticated young country, and about the coming of artists as an accepted class in American society. Broderick, a renowned architectural and social historian, brilliantly weaves together the strands of biography, architecture, and history to tell the story of the houses and buildings Charles McKim, William Mead, and Stanford White designed. She writes of the firm’s clients, many of whom were establishing their names and places in upper-class society as they built and grabbed railroads, headed law firms and brokerage houses, owned newspapers, developed iron empires, and carved out a new direction for America’s modern age.
“Page after page reveals an unreal world. . . . Socialites in their mansions, film stars by their pools. . . . Aarons earned the trust of the very rich—Jackie Kennedy, Princess Grace of Monaco, Imelda Marcos—and the very famous—Cary Grant, Marilyn Monroe, Errol Flynn—as well as a passing parade of young women at play on yachts, at exclusive beach resorts or in their expensive homes.” —The Guardian Slim Aarons: Women explores the central subject of Slim Aarons’s career—the extraordinary women from the upper echelons of high society, the arts, fashion, and Hollywood. The book presents the women who most influenced Aarons’s life and work—and the other remarkable personalities he photographed along the way—including Audrey Hepburn, the Duchess of Windsor, Diana Vreeland, Esther Williams, Marianne Faithful, and Marlene Dietrich, all featured in unforgettable photographs. The collection contains more than 250 images, the majority of which have not appeared in previous books, along with detailed captions written by one of Aarons’s closest colleagues, Laura Hawk. Hawk writes in her introduction, “Slim’s visual narratives give us an intime glimpse into the world of the upper classes and their rituals in the pursuit of leisure. That his half century of work continues to captivate successive generations of admirers—and that this is the fifth book published of his photography—reveals not only a yearning for an irretrievable time gone by but also a universal fascination with the seeming forbidden worlds of wealth and privilege.” Showcasing beautiful women at their most glamorous in some of the most dazzling locations across the globe, Slim Aarons: Women is a fresh look at the acclaimed photographer through the muses who inspired his most incredible photographs.
The religious ambiguity of the world has many aspects, one of which is the hiddenness of God. Theists have proposed a number of explanations of God's hiddenness. Some putative explanations contend that the advantages of God's hiddenness ("goods of mystery") outweigh whatever benefits would result if God's existence and nature were clear to us ("goods of clarity"). Goods of mystery that have received a lot of discussion include human moral autonomy and the ability on our part to exercise control over whether we believe in the existence of God. The extent of the ambiguity that surrounds God's existence, and indeed all important religious matters, combined with our lack of an obviously correct and adequate explanation of this lack, suggest that, even if God exists, it is not important that people believe in God. Another central theme in the book is the significance of religious diversity for religious belief. The character of this diversity is such that it provides people who take a position on religious matters with reason to adopt the "Critical Stance" -- which requires people in all the religious traditions to subject their religious beliefs to critical scrutiny and hold those beliefs in a tentative way.Some contend that religious faith requires complete confidence in what is believed but tentative belief actually is sufficient to sustain many forms of religious commitment.
Part architectural retrospective, part biography, and part cultural and social history, this volume is both a brilliant evocation of White's life and times and a portfolio of unforgettable images of his priceless legacy to New York. 141 illustrations.
Why does the University of Illinois campus at Urbana-Champaign look as it does today? Drawing on a wealth of research and featuring more than one hundred color photographs, An Illini Place provides an engrossing and beautiful answer to that question. Lex Tate and John Franch trace the story of the university's evolution through its buildings. Oral histories, official reports, dedication programs, and developmental plans both practical and quixotic inform the story. The authors also provide special chapters on campus icons and on the buildings, arenas and other spaces made possible by donors and friends of the university. Adding to the experience is a web companion that includes profiles of the planners, architects, and presidents instrumental in the campus's growth, plus an illustrated inventory of current and former campus plans and buildings.
In this hugely appealing book, a finalist for the Pulitzer Prize, acclaimed author and journalist Daniel Okrent weaves together themes of money, politics, art, architecture, business, and society to tell the story of the majestic suite of buildings that came to dominate the heart of midtown Manhattan and with it, for a time, the heart of the world. At the center of Okrent's riveting story are four remarkable individuals: tycoon John D. Rockefeller, his ambitious son Nelson Rockefeller, real estate genius John R. Todd, and visionary skyscraper architect Raymond Hood. In the tradition of David McCullough's The Great Bridge, Ron Chernow's Titan, and Robert Caro's The Power Broker, Great Fortune is a stunning tribute to an American landmark that captures the heart and spirit of New York at its apotheosis.
From the author of House of Outrageous Fortune For seventy-five years, it’s been Manhattan’s richest apartment building, and one of the most lusted-after addresses in the world. One apartment had 37 rooms, 14 bathrooms, 43 closets, 11 working fireplaces, a private elevator, and his-and-hers saunas; another at one time had a live-in service staff of 16. To this day, it is steeped in the purest luxury, the kind most of us could only imagine, until now. The last great building to go up along New York’s Gold Coast, construction on 740 Park finished in 1930. Since then, 740 has been home to an ever-evolving cadre of our wealthiest and most powerful families, some of America’s (and the world’s) oldest money—the kind attached to names like Vanderbilt, Rockefeller, Bouvier, Chrysler, Niarchos, Houghton, and Harkness—and some whose names evoke the excesses of today’s monied elite: Kravis, Koch, Bronfman, Perelman, Steinberg, and Schwarzman. All along, the building has housed titans of industry, political power brokers, international royalty, fabulous scam-artists, and even the lowest scoundrels. The book begins with the tumultuous story of the building’s construction. Conceived in the bubbling financial, artistic, and social cauldron of 1920’s Manhattan, 740 Park rose to its dizzying heights as the stock market plunged in 1929—the building was in dire financial straits before the first apartments were sold. The builders include the architectural genius Rosario Candela, the scheming businessman James T. Lee (Jacqueline Kennedy Onassis’s grandfather), and a raft of financiers, many of whom were little more than white-collar crooks and grand-scale hustlers. Once finished, 740 became a magnet for the richest, oldest families in the country: the Brewsters, descendents of the leader of the Plymouth Colony; the socially-registered Bordens, Hoppins, Scovilles, Thornes, and Schermerhorns; and top executives of the Chase Bank, American Express, and U.S. Rubber. Outside the walls of 740 Park, these were the people shaping America culturally and economically. Within those walls, they were indulging in all of the Seven Deadly Sins. As the social climate evolved throughout the last century, so did 740 Park: after World War II, the building’s rulers eased their more restrictive policies and began allowing Jews (though not to this day African Americans) to reside within their hallowed walls. Nowadays, it is full to bursting with new money, people whose fortunes, though freshly-made, are large enough to buy their way in. At its core this book is a social history of the American rich, and how the locus of power and influence has shifted haltingly from old bloodlines to new money. But it’s also much more than that: filled with meaty, startling, often tragic stories of the people who lived behind 740’s walls, the book gives us an unprecedented access to worlds of wealth, privilege, and extraordinary folly that are usually hidden behind a scrim of money and influence. This is, truly, how the other half—or at least the other one hundredth of one percent—lives.